Ten Little Chances to be Free (![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
tenlittlebullets) wrote2003-11-06 07:10 am
tenlittlebullets) wrote2003-11-06 07:10 am
Okay.
/rant, now on to the good stuff. There wasn't much, but it was there. And I'll still try not to give spoilers.
First of all, the beginning was decent. Trinity kicks ass, and there's an ad for Tastee-Wheat on the subway (heh). In fact, even though she becomes a sidekick later, there's a lot of strong female characters without the directors screaming, "Look! We have major female characters! Are you happy, feminazis?" They're actually good characters--Naiobe, and Link's girlfriend, and the girl with the crew cut who runs around with her taking potshots at the machines. They're all cool, and they all kick major ass. (And crew cut girl was cute.)
Also, there was more cohesion than in Reloaded. Even though it went into a zillion subplots and the ending sucked, there was closure, and there was some sense of causality--unlike Reloaded, which was just whacked. And the directors seemed to have learned that gratuitous actions scenes interspersed with long, boring speeches that no one understands is not the formula for success. So in many ways it was less jerky than the second one, and from hindsight I'd even vote that Reloaded sucked more.
Also, I know a lot of people were bored by it, but I found a lot of the Zion battle scenes really cool, if just a bit pointless. Like Kill Bill--mindless violence is still violence, and it's hella fun to watch.
Only now I've remembered a few more things that I didn't like. Philosophically speaking the movie touches on everything and goes in-depth on nothing. The orignal was an exploration of the brain-in-a-vat theory; the sequels were a mishmash of purpose and causality and choice and who-the-fuck-knows-what, and they didn't really explore them--they had puppet characters introduced to talk at the audience about them. Bad.
Also, how the fuck did that script get past the editing room? Did they fire all their editors so they could channel more money into special effects? Especially in the beginning, it was chock-full of wooden lines delivered by wooden characters. Not good.
First of all, the beginning was decent. Trinity kicks ass, and there's an ad for Tastee-Wheat on the subway (heh). In fact, even though she becomes a sidekick later, there's a lot of strong female characters without the directors screaming, "Look! We have major female characters! Are you happy, feminazis?" They're actually good characters--Naiobe, and Link's girlfriend, and the girl with the crew cut who runs around with her taking potshots at the machines. They're all cool, and they all kick major ass. (And crew cut girl was cute.)
Also, there was more cohesion than in Reloaded. Even though it went into a zillion subplots and the ending sucked, there was closure, and there was some sense of causality--unlike Reloaded, which was just whacked. And the directors seemed to have learned that gratuitous actions scenes interspersed with long, boring speeches that no one understands is not the formula for success. So in many ways it was less jerky than the second one, and from hindsight I'd even vote that Reloaded sucked more.
Also, I know a lot of people were bored by it, but I found a lot of the Zion battle scenes really cool, if just a bit pointless. Like Kill Bill--mindless violence is still violence, and it's hella fun to watch.
Only now I've remembered a few more things that I didn't like. Philosophically speaking the movie touches on everything and goes in-depth on nothing. The orignal was an exploration of the brain-in-a-vat theory; the sequels were a mishmash of purpose and causality and choice and who-the-fuck-knows-what, and they didn't really explore them--they had puppet characters introduced to talk at the audience about them. Bad.
Also, how the fuck did that script get past the editing room? Did they fire all their editors so they could channel more money into special effects? Especially in the beginning, it was chock-full of wooden lines delivered by wooden characters. Not good.